Titlebook: Conrad; The Later Fiction Daniel R. Schwarz Book 1982 Palgrave Macmillan, a division of Macmillan Publishers Limited 1982 fiction.history o

apropos

https://doi.org/10.1007/978-0-230-00059-9ravelling band, and Schomberg’s parody of a hotel—Heyst’s courtesy and delicacy stand as a vestige of an older tradition. But his manners and formality also serve as a barrier not only to reaching a complete understanding with Lena, but also to contending with the forces of economic barbarism—Jones,

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exhilaration

首創(chuàng)精神

Serenity

Victory,ravelling band, and Schomberg’s parody of a hotel—Heyst’s courtesy and delicacy stand as a vestige of an older tradition. But his manners and formality also serve as a barrier not only to reaching a complete understanding with Lena, but also to contending with the forces of economic barbarism—Jones,

isotope

The Rover,ould recognise a kinship with a forceful, competent, shrewd but not intellectual hero. Conrad’s artistic economy is appropriate for the barely verbal and unself-conscious characters of .. For example, the voice sometimes seems to be an articulate version of Peyrol; the style deliberately eschews the

準(zhǔn)則

Prostatism

The short story as romance,ption in which he eschews moral and psychological subtlety. The tales published in . (1915)—’The Inn of the Two Witches: A Find’, ‘The Partner’, The Planter of Malata’ and ‘Because of the Dollars’—possess the quality neither of Conrad’s great short stories nor even of the lesser novels of the later

經(jīng)典

,Conrad’s later novels,ies, as if they belonged to a different genre from his previous work. Thematically, they have been seen as symptoms of Conrad’s inability to deal with love and sexuality on a mature level. While not ignoring differences between these novels and his prior work, I shall stress the biographical, themat

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